Webber's perceptive new introduction helps to decipher this challenging, seminal work, placing it in the context of the author's work and the history of ...

Study one: Between phenomenology and hermeneutics -- Study two: Between imagination and language -- Study three: Between myth and tradition -- Study four: Between ideology and utopia -- Study five: Between good and evil -- Study six: Between poetics and ethics -- Dialogue 1: Myth as the bearer of possible worlds -- Dialogue 2: The creativity of language -- Dialogue 3: Universality and the power of difference -- Dialogue 4: Imagination, testimony, and trust -- Dialogue 5: On life stories.

In this paper, I argue that temporality, as described in Being and Nothingness , is a central theme in Nausea . In the first section I make the point that one of Sartre's guiding concerns at the time of publishing Nausea is temporality and the temporal nature of freedom. In the second section, the theme of melancholy and its relationship to temporality is explored. The third section explores Sartre's use of this image of being taken 'from behind'. I use this (...) temporal imagery as a guide for interpreting Roquentin's reaction to the rape and murder of Lucienne. By interpreting this scene by way of the temporality of Being and Nothingness , we can duly recognize the early Sartre's concern with temporality, understand the melancholia that arises because of the 'internal' negation of the past, and give a more satisfying account of a scene which is often ignored in the secondary literature. (shrink)

In this paper, I argue that temporality, as described in Being and Nothingness, is a central theme in Nausea. In the first section I make the point that one of Sartre's guiding concerns at the time of publishing Nausea is temporality and the temporal nature of freedom. In the second section, the theme of melancholy and its relationship to temporality is explored. The third section explores Sartre's use of this image of being taken 'from behind'. I use this temporal imagery (...) as a guide for interpreting Roquentin's reaction to the rape and murder of Lucienne. By interpreting this scene by way of the temporality of Being and Nothingness, we can duly recognize the early Sartre's concern with temporality, understand the melancholia that arises because of the 'internal' negation of the past, and give a more satisfying account of a scene which is often ignored in the secondary literature. (shrink)

The essay traces the double, phenomenological and psychological, background of Sartre’s theory of the imagination. Insofar as these two phenomenological and psychological currents are equally influential for Sartre’s theory of the imagination, his intellectual project is situated in an inter-disciplinary research area which combines the descriptive analyses of Edmund Husserl with the clinical reports and psychological theories of Pierre Janet. While Husserl provides the foundation for the prevailing theory of imagination as pictorial representation, Janet’s findings on obsessive behavior enrich an (...) alternative current in Sartre’s thinking about imagination as spontaneous and self-determined creativity. (shrink)

But is not the word "metaphor" itself a metaphor, the metaphor of a displacement and therefore of a transfer in a kind of space? What is at stake is precisely the necessity of these spatial metaphors about metaphor included in our talk about "figures" of speech. . . . But in order to understand correctly the work of resemblance in metaphor and to introduce the pictorial or ironic moment at the right place, it is necessary briefly to recall the mutation (...) undergone by the theory of metaphor at the level of semantics by contrast with the tradition of classical rhetoric. In this tradition, metaphor was correctly described in terms of deviance, but this deviance was mistakenly ascribed to denomination only. Instead of giving a thing its usual common name, one designates it by means of a borrowed name, a "foreign" name in Aristotle's terminology. The rationale of this transfer of name was understood as the objective similarity between the things themselves or the subjective similarity between the attitudes linked to the grasping of these things. As concerns the goal of this transfer, it was supposed either to fill up a lexical lacuna, and therefore to serve the principle of economy which rules the endeavor of giving appropriate names to new things, new ideas, or new experiences, or to decorate discourse, and therefore to serve the main purpose of rhetorical discourse, which is to persuade and to please. Paul Ricoeur is professor of philosophy at the Université de Paris and John Nuveen Professor at the University of Chicago. He is editor of Revue de métaphysique et de morale and the author of many influential works on phenomenology, hermeneutics, and the philosophy of language. His most recent work to appear in English is The Rule of Metaphor: Multi-disciplinary Studies of the Creation of Meaning in Language. He has also contributed "Narrative Time" to Critical Inquiry. (shrink)

Paul Ricoeur has been hailed as one of the most important thinkers of the century. Oneself as Another, the clearest account of his "philosophical ethics," substantiates this position and lays the groundwork for a metaphysics of morals.